Taken against the Arcadian backdrop of her woodland home in Virginia, Sally Mann's extraordinary, intimate photographs of her children--Emmett, Jessie, and Virginia--reveal truths that embody the individuality of her immediate family and ultimately take on a universal quality. Mann states that her work is "about everybody's memories, as well as their fears," a theme echoed by Reynolds Price in his eloquent, poignantly reflective essay accompanying the photographs in "Immediate Family." With sublime dignity, acute wit, and feral grace, Mann's pictures explore the eternal struggle between the child's simultaneous dependence and quest for autonomy--the holding on, and the breaking away. This is the stuff of which Greek dramas are made: impatience, terror, self-discovery, self-doubt, pain, vulnerability, role-playing, and a sense of immortality, all of which converge in Sally Mann's astonishing photographs. A traveling exhibition of "Immediate Family," organized by Aperture, opened at the Institute of Contemporary Art in Philadelphia in the fall of 1992.
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介紹große Bilder相機的時候正好有同學作關於她的Referat，其實還挺期待有機會能試試看
评分看過親密傢庭的部分作品，感謝sally mann，讓我看到小孩的童真無邪，看到瞭最初的自己。
评分介紹große Bilder相機的時候正好有同學作關於她的Referat，其實還挺期待有機會能試試看
评分印象之中，蘿莉和正太都是美好的化身，但在sally mann這本Immediate Family某些攝影中，我讀到瞭孩子對鏡頭的戒備，說是對鏡頭，還不如說對大人的防禦。他們活在自己的世界裏，沒有人能走進他們的內心。唉，我們是否應該停下手中的工作，開始細細聆聽孩子們的心音呢？
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